By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Eric Nicholson
In Kiss of the Spider Woman, the haunting Kander and Ebb musical now running at the Trinity River Arts Center, two men share a tiny prison cell in Argentina. Molina (Donald Fowler) is doing three years for sex with an underage boy. The ironically named Valentin Paz (Skie Ocasio) has been locked away for espousing Marxism in a violent political faction. They are an odd couple. Effeminate Molina flaps back and forth between cots like a trapped sparrow. Macho Valentin loses patience with his cellmate and orders him not to cross a chalk line drawn down the center of the filthy floor. Of course, these two men will grow to love each other. How soon it will happen and how far it will go are two of the intrigues that keep the audience in suspense through this show's two acts and more than 20 songs.
Based on a novel by Manuel Puig that became a 1985 film that won an Oscar for William Hurt as Molina, Kiss of the Spider Woman evolved into a hit on Broadway with a book by Terrence McNally and music and lyrics by the same duo who wrote Chicago and Cabaret. McNally's work here is particularly witty, and he's woven several dark mysteries through the plot lines. Will Molina get out of prison in time to save his ailing mother? Will Valentin return to Marta, the wealthy young woman he secretly loves? Which of the prisoners will betray the other to earn freedom?
Perhaps the biggest mystery in this engrossing production is how the Uptown Players managed so successfully to stage a huge, complicated musical in their small venue. The Trinity River Arts Center is a comfortable but by no means roomy theater. But as directed by James Paul Lemons (on loan from WaterTower in Addison), with choreography by Paula Morelan and musical direction by the multitalented Scott Eckert (fresh from sell-out performances of his new play Lesson 2: Hamletat Pocket Sandwich Theatre), this Kiss of the Spider Womanmakes the walls appear to expand to sprawling Broadway dimensions. Designer Andy Redmon has worked some special alchemy on what could be a claustrophobic set, putting the four-sided cell on wheels so that it revolves and adding an upper level upstage that appears and disappears in the mist just like the show's title character. That's theater magic.
The show sounds big, too. The five-piece band (Eckert and Jeff Crouse on keyboards, Paul Dutka on reeds, Phil West on trumpet, Jay Majernik on drums) handles the difficult score with ease, soaring to the rich sound of a full orchestra. This show has lovely music, if no big breakout tunes. Kander and Ebb's score reveals a mite too strong an influence from Evita.
All the leads here give fine performances. Fowler, seen in musicals at Uptown (A New Brain), Lyric Stage (Titanic) and WaterTower (Rockin' Christmas Party), has never sung with a richer, clearer voice. As Valentin, Dallas theater newcomer Skie Ocasio is by turns menacing and vulnerable, with a voice that thrills. And then there's the Spider Woman. What a pretty, poisonous creature this character is, played with sinewy arms and piercing eyes by the smoky-voiced Linda Leonard. The character exists only in the dreams of Molina, who uses memories of his favorite diva and her old B-movies to drown out screams of tortured prisoners. Molina is convinced that a kiss from Spider Woman spells death. Whenever she appears, her dance leads to tragedy. When Leonard, wrapped in a revealing mesh dress, slithers across the prison bars like a black widow on a newly spun web, watch out. She's trouble.
In the play two yuppie couples find their friendship disintegrating when one of the pairs divorces, making the other wonder how solid their own marriage is. Then the still-marrieds, Gabe and Karen (Terry Martin, Kerry Cole), begin to feel a touch of schadenfreude when they realize that the other couple, Tom and Beth (Steven Pounders, Shannon J. McGrann), weren't such nice folk to begin with. It's Who's Afraid of Virginia Woolf?lite--less cussing, no Scotch, no imaginary sons.
And no sublime Edward Albee wordplay either. These characters are supposed to sound trendy and upscale because they drop a lot of references to risotto. They wax on about "the Vineyard" (as in Martha's). They speak in streams of banal, strained clichés not unlike the arguments between Elliot and Nancy, the grating, unhappy pair who were Michael and Hope's best friends on the old thirtysomething series.